Tuesday, 8 March 2016

From the 24th to the 28th of March I’ll be showing some of my work along side the sculptures of Tim O'carroll and the paintings of Frederick Thackeray-Vincent.
Our exhibition will be taking place in Soho, London on the 1st floor of the lovely Georgian building of 49 Greek street. 
The Private view will be held the evening of Thursday 24th March 6-9p.m.
Hope you can come and have a look/drink with us.
Union Trade-
The wand and lasso are no longer the reserve of magicians and cowboys. The allure of beautiful women, the subtle veneer of oils and common material pushed to excess. Find them here, in a show of painting and sculpture.
Carl Stimpson’s analog practice has focused on producing strange new narratives from a host of cut and pasted comic book images.
Tim O’Carrolls abstract, process-based creations spontaneously combine ephemeral, cheap media such as card, foam and wax into beautiful bronze sculpture.
Fred Thackeray-Vincent’s paintings stem from places long forgotten, from things which have yet to be, and of substances that hang in between. 
This show preserves a workman like ethic, made of those who closely hone a craft and with diligent care for their materials. Further statements, studies, post cards, sketches and more will be available on attendance of the private view.

Thursday, 18 February 2016


    Smash Smash!, 2015 Acrylic on found, framed oil 
    painting. 51 x 77 cm.
   

    Editions Of You, 2015 
    Acrylic on canvas. 110 x 80 cm.


    Five Years, 2015 Acrylic on 12” Single Sleeve. 
    31 x 31 cm.



Tuesday, 15 December 2015

    Car showroom, New York, c.1955. 
    2015 Acrylic on canvas. 30 x 30 cm.


    Maggie's Farm, 2015 Acrylic on canvas. 110 x 80 cm.


    Walls Come Tumbling Down, 2015 Acrylic on canvas.
    Two panels, 120 x 80 cm overall.

Wednesday, 26 August 2015


    Trellick, 2015 Acrylic on canvas. 23 x 23 cm.

    Goodbye, Snowy!, 2015 Acrylic on found print.
    24.5 x 19.5 cm.

    He was near this this tree, 2015 Acrylic on found print.
    24.5 x 19.5 cm.


Thursday, 6 November 2014

    Poole Bay, 2014 Acrylic on canvas. 180 x 90 cm.
    Comisioned by  Jimmy's Iced Coffee

    Extra Slim, 2014 Acrylic, paper and found print.
    45.7 x 36.9 cm.

    Rock & Roll Suicide, 2014 Acrylic, paper and found print.
    44.3 x 40 cm.


Tuesday, 28 October 2014

    Gone With My Love Is My Love, 2014 Acrylic on canvas.
    40 x 40 cm.

    Maxine and Darrell, Walton Close c.1971,
    2012 Acrylic on canvas. 80 x 80 cm.


    Mr Tee's Records, 2014 Acrylic on Ply. 
    Two panels 210 x 190 cm overall .



Friday, 27 June 2014


    Masterplan, 2014 Acrylic on canvas. 110 x 80 cm.


    Me and the Farmer, 2014 Acrylic on 12" Single Sleeve. 
    31 x 31 cm.


    No Thugs In Our House, 2014 Acrylic and paper on LP
    Sleeve. 31 x 31 cm.

Saturday, 12 April 2014

    Rip It Up, 2014 Acrylic on canvas. 84.5 x 55.5 cm


    No 6, 2013 Acrylic on canvas. 84.5 x 66.5 cm 


Sunday, 9 June 2013



    Take It Or Leave It, 2013 Acrylic on canvas. 
    Two panels, 160 x 80 cm overall.


    Mother Nature's Son, 2013 Acrylic on canvas. 110 x 80 cm.


    Nothing Ever Happens, 2013 Acrylic on canvas. 80 x 74.5 cm 

    Comic Mash Up at Orbital. www.orbitalcomics.com






Thursday, 9 May 2013



Orbital Comics presents a solo exhibition of new works by Carl Stimpson. The show runs until Wednesday 12th June so please come and have a look. All are welcome to come along to the private view which is on Saturday 1st June at 7 pm. 


The wand and lasso are no longer the reserve of magicians and cowboys.  In this age of digital tools it has never been easier to splice and merge, in order to create montage and composite images.  These tools (and a box of others) make it easy to achieve seamless results, but the ability to create interesting melded and mashed imagery remains a true challenge.

Carl Stimpson’s analog painting practice has, over the last six years, focused on producing strange new narratives from a host of cut and pasted comic book images.

Femme fatales, explosions, comical characters and Japanese heroines from Belgian comics, to name but a few, are sourced and blended in his work.   Source materials, including the works of cartoonists; F. Bergese, Philippe Berthet, Dan DeCarlo, Frank Frazetta, Herge, Edgar P. Jacobs, Jack Kirby and Roger Leloup, provide visual information that is appropriated by Stimpson to create his own compositions.  The viewer’s attention switches between boyish interests of fast cars and fighter planes and the more adult and alluring depiction of voluptuous women.   Stimpson deftly composes these paintings, turning complicated mixtures into final works that feel as though they have always existed.  The leftfield text included in his paintings serves to disconcert and intrigue the viewer.

The pulp aesthetic of comic book art demands, in the first instance, only a superficial analysis from the viewer.  In recent works Stimpson has looked beyond the graphic quality of his source material in order to explore the print processes used to create it.  New paintings incorporate a subtle layering of primary colour washes; this involved technique serves as a simulation of the means by which the original images were produced.

The digital paintbrush is considered to be a relatively crude tool, yet in the hands of this painter its analog equivalent is used sensitively and deftly.  Stimpson’s work reflects a painterly aptitude, a long-standing love of the comic book medium and a broad, deepening knowledge of its history.  His paintings are peculiar, beguiling and entertaining.

For more information please visit www.orbitalcomics.com